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Understanding 9/11Heartstrings
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Heartstrings is a body of music originally written as a cycle of
electroacoustic compositions composed from the sound of a single violin
and then translated into scores to be interpreted by a string quartet.
In performance, the five movements in their electronic form are first
diffused live in the darkened venue, and then played by the quartet
synchronized with video projections. The performers and the sets are
incorporated into the surface of the video creating a unified
relationship between the movement, sounds, and images presented.
Compositionally, heartstrings explores some of the differences inherent in sound representation. Sampling practice treats sound as an experiential phenomenon and not as linguistic structure (at least up to sequencing). Western formal music has linguistic representation at its core. Translation between these two working methodologies can be difficult, revealing, and most importantly, creative.
In a sense creating a score is like watching an hourglass of possibility. First, at the top sits the musical intention of the composer, which can be satisfied by a great many variants. As soon as a score is established for this intention the variations are fixed into a single idealized structure through which all sound must pass. At the bottom is the interpretation of this structure, which again opens up many possible variations of music and performance.
Compositionally, heartstrings explores some of the differences inherent in sound representation. Sampling practice treats sound as an experiential phenomenon and not as linguistic structure (at least up to sequencing). Western formal music has linguistic representation at its core. Translation between these two working methodologies can be difficult, revealing, and most importantly, creative.
In a sense creating a score is like watching an hourglass of possibility. First, at the top sits the musical intention of the composer, which can be satisfied by a great many variants. As soon as a score is established for this intention the variations are fixed into a single idealized structure through which all sound must pass. At the bottom is the interpretation of this structure, which again opens up many possible variations of music and performance.
In my attempt to translate the electronic music I have created I
have not found an exact transcription, but instead have offered my ear’s
subjectivity free reign. The acoustic movements are meant to be shadowy
descendents of their electronic counterparts. Though they share a
common bloodline they have grown into their own beings, no matter how
close the genetic fit.
Project Credits:
All music written by Freida Abtan and previously released in the online journal Vague Terrain (http://vagueterrain.net), Issue 8: Sample Culture. Movements 1-4 Acoustic were recorded by Craig Boychuk at the Send + Receive Festival in Winnipeg, Canada, May 2007 and mastered by Shane Turner in Montreal. The performers were László Bánóczi (First Violin), Nancy Enns (Second Violin), Barbara Hamilton (Viola), and Sean Taubner (Cello).
Image Credits:
The above photo was taken by Adam Shamash at an earlier performance of the first two movements in Montreal during April 2004 at the Electric Tractor. The performers for this program were: Tariq Harb (First Violin), Sophia Vincent (Second Violin), James Annett (Viola), and Nikko Snyder (Cello).
All music written by Freida Abtan and previously released in the online journal Vague Terrain (http://vagueterrain.net), Issue 8: Sample Culture. Movements 1-4 Acoustic were recorded by Craig Boychuk at the Send + Receive Festival in Winnipeg, Canada, May 2007 and mastered by Shane Turner in Montreal. The performers were László Bánóczi (First Violin), Nancy Enns (Second Violin), Barbara Hamilton (Viola), and Sean Taubner (Cello).
Image Credits:
The above photo was taken by Adam Shamash at an earlier performance of the first two movements in Montreal during April 2004 at the Electric Tractor. The performers for this program were: Tariq Harb (First Violin), Sophia Vincent (Second Violin), James Annett (Viola), and Nikko Snyder (Cello).
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